If you’re looking for your next creative breakthrough or if you’re in a job you hate and looking to make a change, this video from Dan Wieden of legendary Wieden + Kennedy agency in Portland is a worthy 15 min of your time. The intro is slow (a Portland love fest…) so skip in a few min if you’re watching the clock.

Here’s what’s in this video that I like:

- dan is a really likeable guy
- dan’s speech echoes my belief that creativity is the new literacy
- dan eloquently voices the idea that constraints & failures lead to creativity
- small is beautiful
- mistakes are the building blocks of knowledge

Apparently as a followup to my well-timed and very handy video I put out this week (check it), my favorite camera manufacturer today announced the launch of a new app. It’s getting really slick my friendz. While you could control the Hero3 cameras with earlier version of the app (view – start -stop – etc) the newest version of the app allows you the same ability to control the camera, but you can now remotely view the images and videos on the camera and–here’s the kicker — edit + share them from the app for iphone, android, and windows phones.

From today’s TechCrunch article: “The app is simple enough. It connects to GoPro cams through a WiFi signal, giving owners a large set of available tools. The cameras can be viewed and controlled from a smartphone or tablet, for one –this includes adjusting the dozens of available settings on each little guy. Owners can also view, manage and download content from the camera to their phone. From there, it can be shared like any other media. Upload the action to Geocities or FriendFeed like you would any other picture.”

This update illustrates why I opened this post with “my favorite camera manufacturer”. It’s not because they are overwhelmingly the best. Sure I love them. Not sure I could make my living with just a GoPro, but truth be told it’s really what they stand for and where they’re going that make me love them the most. Like I told the New York Times a while back — it’s 5 years past due when Nikon and Canon should have had this sort of reliable technology built in small packages to allow creative photographers to shoot, edit, and share their work in new and novel ways.

Dear Canon and Nikon,
I know I’ve been telling you this stuff for 5+ years. I’m sure other pros and consultants and bean-counters have too. So why is this so hard?

ASIDE: given that you are reading this post, you’ll probably want to know how I pack my GoPro’s to travel everywhere I go. Here’s a quick post and a short vid.

[If you want an in-depth step by step check out the video above from creativeLIVE]

1. Use a Tripod
You’ll want to make sure your camera is stable and secure. Check out some support systems here.

2. Remote Release
Invest in a remote release device. You can also use the timer shutter release function – but a remote release is the best option.

3. ISO
Shoot a low ISO. I recommend 100.

4. Focal Length
Timing is key with fireworks. You’re going to have to anticipate where the action is happening before it happens. This can be tricky if you’re shooting with a longer focal length and trying to stay tight. A wider focal length makes this easier, but experiment a bit. Zoom in and see if you get lucky. If you shoot wide, you can always go back and crop for the desired effect as well.

5. Aperture
Fireworks are BRIGHT. You dont need a really fast lens and the general consensus is that somewhere between f/8 to f/16 will work.

6. Shutter Speed
Shutter speed is going to be the most important aspect of your fireworks capture. A long exposure is what you’re going to want to go for. Shooting “bulb” with a remote release is the best technique. Hit the shutter as the firework is about to explode and hold it down until it’s finished. This could be a few seconds. At the same time,
don’t keep your shutter open too long. Remember: Fireworks are BRIGHT. Just because its dark doesnt mean that you wont completely blow out your photos if you keep the shutter open too long.

7. Framing
Get to your location a bit early. What’s in the foreground and background? Try to figure our where the fireworks are being set up and where they will end up in they sky. You will have to aim before the fireworks go off. If you are really on it – ask the folks coordinating the display for some advance information. This will be a big help. Consider your lens selection before the show start. Are you going to shoot horizontal or vertical? Dont forget how you’ve framed it up because when you’re in the dark, you might spend a lot of time looking directly at the fireworks display rather than through the viewfinder.

8. “No flash photography”
A flash will do nothing but crush your photos and leave you with smoke…turn it off or leave it at home.

Have a great Fourth of July and share some of these photos in the comments section for Thursday morning!

You may recall a few weeks back I released a video of the behind-the-scenes action for a cool gig I was asked to create for Samsung around their Series 9 Color Premium monitors. It was a dream job in a lot of ways. For one, I got to literally photograph a re-creation of my dreams; for two, on jobs like that I get the opportunity to rub elbows with the best crew —cinematographers, editors, filmers, sound technicians, art directors, stylists, producers and beyond — PLUS the best gear too.

“Great cinematic look in your Samsung behind-the-scenes vid, Chase. What camera did you shoot it with?”

So I thought I would take this opportunity to a)highlight our primary cine camera on this shoot– the Arri Alexa; b)introduce my fav DP, Chris Bell, who shot that camera on my Samsung job (and a lot of my other stuff); and c) refresh that Samsung video in case you missed it the first go round.

So in reverse order, here’s the Samsung vid shot primarily with the Arri Alexa (below). And then – in addition to our video review (above) I asked him to share some more knowledge & opinion and he breaks it down quite nicely… all of which you’ll find after the Samsung vid here. Thanks Chris!

First of all, Chris, thanks for slaying it for me on the Samsung gig. Second, thanks for the quick interview – really appreciate the time discussing the Arri Alexa. When did you first pick up the Arri Alexa and what were you using previously that it replaced?

The Alexa replaced a lot of cameras. My background is as a film shooter (16-35 mm). And we had various cameras to get a particular look. Panasonic had various cameras. The HBX200. There were cameras like the Canon 5D and even the Red One. I had a shop full of cameras and each was there to satisfy a specific client’s need. Alexa came along and, in a way, became the swiss army knife of cameras. It replaced a lot of those cameras. Everyone [clients] wanted the big chip look. Everyone wanted the shallow depth of field look. For one reason or another the cameras that I mentioned could not satisfy all parts of the workflow in a consistent way. Red was a raw camera – which is nice, but it needs tons of post production attention. That’s a challenge. And no one wanted to shoot tape anymore.

The Alexa came along and answered a lot of producers, editors and cinematographers desires – all at the same time. It does a great job emulating film…and film is still state of the art in many ways. It is still the benchmark that cinematographers use to compare against. The Alexa was really the first to mimic the dyanamic range of film. It appeals to so many because it has a look clients love – that filmic “look”.

Prior to the Alexa someone in the workflow — the cinematographer, the editor or the producer, had to compromise on something. These other cameras, while amazing in some way, had very limtited range. They had lots of compression issues and color source issues. They had very challenging workflow issues. Then the Alexa comes along and all of a sudden – the cinematographer is happy, the producer and editor are happy. That it shoots files that are ready to edit right out of the camera –and require no conversion–makes workflow a snap.

And it’s super simple in lots of other ways too…It has great time coding for instance. These are little things. But on big productions – on the big budget work that demands reliability, it is the little things that add up for the professional. And ultimately, this camera can be relied upon. It’s been used on major Hollywood productions like Skyfall and Life of Pi. It’s increasingly found on the set for TV commercials worldwide. It’s being used for wildlife docs. For me, I work on a lot of different types of productions – from commercials to sport, to big brands like Microsoft and Samsung–and beyond, and it always does me right. In short, I think that Arri has done a magnificent job listening to its users when developing the product.

What’s the best thing about the Alexa from a usage standpoint?
The best thing is that its a camera that makes a beautiful image without compromise – for anyone involved with the workflow. It’s a swiss army knife that works on any type job. ESPN shooters are buying Alexa. The networks love it because the files are immediately edit-ready. It’s SO easy to use. And it has become a standard. I figured I’d get a three year usage (digital has a short shelf life), but I’ll get at least five years out of this camera. Arri has these very long product cycles. That’s very important. It means I can go on a shoot and no matter who’s shooting – we are all shooting the same quality image. This is super important from the business standpoint. We need to have time to recoup investment – b/c its not a cheap camera [$90,000]. My criticism of digital is that it all turns over too fast. It’s getting silly. Every six months there is a new “must have” camera.

How does the average joe get to play with one of these bad boys? Or do they…
The average Joe could go to the Arri website – there is a simulator. They update it every time there is a software update. You can learn the menu system online. If you want to see it in person – call local rental houses and ask if there is a good time to come in and look at the camera and play with it. They might be up for that to get a new customer. Some rental houses have workshops too. You could go to the trade shows. There are lots of ways to do it without dropping the $90,000 cold turkey. Most rental houses are open to educating people.

What’s coming next in this class of camera in your opinion? How can it get even better?

Moore’s law is always in effect. Digital imaging tech is moving very quickly – there is going to be a day where there is a base camera with ISO 5000 and it will shoot 5000fps and it will cost $5000. On your very high end – everyone is going to continue to attempt to emulate the benchmark: motion film. Dynamic range, how they handle highlights, lights and dark and how accurately they are able to reproduce color space. These are the Model T’s of digital cameras. There is a big revolution coming with color and contrast. We’re getting away from a lot of the compromise. Heavy compression, limited colorspace, limited dynamic range. Manufacturers are hearing it and producing new cameras. But I really wish they would slow down a bit and not reinvent the wheel every nine months. Having a standard is important too. It’s rather dizzying.

I didn’t talk about it much, but over the past month I lost two close family members in 48 hours. My grandmother passed away on Mother’s Day and my wife Kate’s grandmother passed away 2 days later. Neither was expected. As you might imagine, it was a crushing week (and following month) for our family. And now not a day goes by that I don’t think about them. More importantly, I’ve had a real chance to reflect on their lives — for which I wouldn’t change a thing — AND their deaths…for which I would change a lot.

In the USA in particular — but in many of the countries I’m familiar with — we don’t do well with death. We don’t talk about it enough, we don’t like to think about it and, consequently, as a culture we don’t do well with arguably the most important part of our lives…the final chapter. Did you know that 75% of people say that they would prefer to die at home, but only 25% end up doing so? Did you know that end of life expense is the number one reason for bankruptcy in the US? This is not dignity. This is terrible.

And that is the point of this kickstarter campaign by my dear friend Michael Hebb. We’ve done loads of collaborations together, like SongsForEatingAndDrinking, where we’ve hosted the likes of Macklemore and Pearl Jam guys and many others. I know the power of conversation around a meal – and have experienced the power of action rising up from the table. If anyone can start the movement to talk about death that will change our current approach, it’s Hebb. Michael, plus the University of Washington’s Masters of Communication Learning program, an interactive firm CIVILIZATION, Engage with Grace and some of the nation’s leading health and wellness organizations are working to fully launch their www.deathoverdinner.org, a project which will hope to jumpstart the national dialogue on how we End our Lives.

A couple years ago, you may recall, during a month-long artist-in-residency at the Ace Hotel in NYC I took the opportunity to celebrate the snapshot — quintessential street photography — and I called the exhibit Dasein: Invitation to Hang. ['Dasein' is a German word used by philosophers to refer to raw human experience or the fundamental mode of "being there." I found that when applied to photography, the snapshot was the ultimate photographic expression of us simply, authentically being in the world / caught on film. ] The exhibit featured an ever-changing wall of snapshots, both my own and selections chosen from nearly 15,000 submissions across the globe.

At the core of the work what I found was my own sense of street photography – regardless of whether it was on the street, on a train, or backstage with the band. Point being that street photograhy – the art of the snapshot if you will – is about the moment. It’s about choosing to take the photograph. It’s about mood, and –quite often–it is about talking to strangers.

I was reflecting on that project this morning and wanted to share a bullet point list of things I learned that could be easily applied to anyone’s work.

1. The Law vs Respect. When it comes to street photography, there is the law, and then there is etiquette. The laws permit us to take pictures of anyone in a public space [for which thousands of paparazzi thank the gods every day], even taking pictures of private property from a public space is fair game. But let’s face it. Do you really want to be ‘that guy’? Etiquette is an entirely different matter. And note that while it’s ok to take the photo – USING or displaying the photo later is an entirely different manner protected by laws, permissions, likeness, etc. But that’s another post.

2. Discrete but not creepy. While some photographers live by the “If you see a good picture, you take it” rule. I do not because I’ve decided that my role in life is to evoke the messages and emotions and thoughts that I want to evoke – not to simply document. This isn’t for everyone, but here’s how it translates into my work… I am discrete but not creepy. I often connect with my subjects. Your style will vary. Aside from the rare times I shoot candidly, my general mode of being is two fold. I either (a) quietly and quickly snap the photo; or (b) I say “hey, can I take your picture?!” with the camera pressed to my face OR simply a wave to get someone’s attention with the camera snugged up to my face. I click the shutter when they look up.

3. It’s all about the aftermath. Nine times outta ten when using the above techniques, my snapshot subjects either don’t know I’ve shot a photo or don’t care. But here’s the critical point IMHO – if they do care, or even if they lock on to you, take proactive action. Introduce yourself and say thank you. It’s almost entirely about the interaction AFTER you shoot the photo. And this is where non experienced photographers blow it. Sure it takes vision to get the shot – no questions there. But in keeping the shot and keeping your integrity as an artist operating in a grey space…. It’s 10% being before 80% after…. People will either warm up or blow you off and it’s your job to read them. How do you get good at reading this? Experience. You will quickly be able to read if someone is aloof and doesn’t care that you’ve snapped their photo, or if you’ve ticked somebody off. Moreover, connecting with subjects after the fact is often an amazingly insightful part of the process. I’ve heard amazing stories, been inspired, been awakened, and felt more human after talking with unknown photo subjects on hundreds of occasions.

4. When things go south. Rarely, after engaging with someone in number 3 above, the unknowing subject will react negatively. In that case, cut your losses. I always prefer to be a good human than to be unpleasant. On just a handful of occasions in my entire career (I can think of 2 in this sitting…) has anyone asked me to delete a snapshot of them. In this case – despite it being my right to have ‘taken’ the photo (NOTE – ok to ‘take’ the photo in a public space but not ok to later USE or display the photo by law without proper permissions…), I have–during both those rare occasions–deleted it with a smile and a shrug as I showed it to them.

5. Some recommended don’ts…
–I don’t photograph the homeless or downtrodden without their permission or even better only after a long conversation where it becomes clear that a photograph is on the up-and-up.
–I don’t photograph young kids in the street that I don’t know without first connecting (eyes, nod, hand wave, etc) with their parent or guardian. Just don’t do it. Otherwise, you’re creepy.
–Don’t try to use snapshots commercially. Ever. You will get caught and you will be breaking laws.
–Don’t take your gigantic camera on the streets. It will wreck your chances at getting good imagery. If a Dslr is all you have, take a small, short lens and that’s it. Even better, consider being discrete with a point and shoot – or my favorite – the new mirrorless camera platforms. There are lots of reviews and stories about those here on my blog. Feel free to search for them.

Above all, IMHO use common sense and common courtesy as your guide. Sure – get sneeky, get gangster, get ‘the shot’, but you can do it without being a nut job. Plenty of other photographers have done amazing projects in the streets that are in your face, against people’s will and without warrant. My suggestion? Leave that to somebody else and focus on the pictures that you want to make through respect and hard work. You’ll thank me later.

[Here are some of my favorites from my NYC project. Got a street photography tale to share? Sound off below. Success stories and disasters both welcomed. Will try to get to any questions if you've got em.]

[Here are some of my favorites from my NYC project. Got a street photography tale to share? Sound off below. Success stories and disasters both welcomed. Will try to get to any questions if you've got em.]

Been shooting some freeride mountain biking lately and was poking around the web when I stumbled on this yesterday…behind the scenes on how this crew filmed a peregrine falcon chasing (and grabbing at) professional downhill mountain biker Gee Atherton over bumps, jumps and at insane speeds.

Love the The Earth Unplugged crew’s approach and patience, plus the ingenuity that thy used in a)the concept; and b)the filming techiques. #muchrespect

I’m not a gear guy, but wondering if you caught the equipment they were using? None of this would have been possible just 5 years ago, or it certainly would have cost 50x what this probably cost to make today.

The banal and boring quickly get lost as noise among the infinite video and photo uploads that occur across the interwebs on the daily. To rise above and be seen, you need to step your shit up, big time.

The peeps over at NRS Films and Forge are on a serious streak of producing killer, award-winning films of their paddling adventures. “Is this a vacation?” they ask themselves? Watch the video and tell me this is anything but passion-pursuit disguised as hard work. No one wakes up in the morning and says, “I think I’ll spend the day in the rainy jungle getting eaten alive by a blood-thirsty insect population and subjecting myself to countless viruses — all for the hell of it.” You’ve got to have a damn good reason to put yourself in that place. For Erik Boomer, Tyler Bradt, Galen Volckhausen and the rest of these dudes, the reason is pretty simple.

I spent an hour last night devouring this stuff… Here’s some more of their work to complement:

Are you ready to have that lightbulb moment? Yes? Then stop reading and hit PLAY on the vid above.

My guest in last week’s cjLIVE was none other than the globe trotting, “self employed for life” hacker Chris Guillebeau. In addition to being all those things plus the founder of the World Domination Summit (most amazing name ever for a creative conference…) he is a best-selling author of The $100 Startup as well as The Art of Non-Comformity. This show lit up the internet with responses to Chris’s explanation of the ACTUAL TACTICS that he has employed to help him achieve amazing success. Watch the above to hear:

_Why “Follow your passion,” sounds great – but that anything worth doing takes sacrifices.
_How to evaluate your life and quit your day job – and still feed your family.
_How Chris figured out how to travel to 193 countries by age 35. He is the first ever to accomplish this. [a few dignitaries have done it, but nobody of Chris' ripe age has ever pulled it off].
_This is all closer than you really think possible – once you get over the things that scare you

Over the years, through his remarkable books and friendship, Chris has given me an insane amount of clarity and some hefty doses of inspiration. Take your life back.

In addition to traveling and writing, Chris founded and organizes the World Domination Summit, an annual gathering of creatives held in Portland Oregon that runs the gamut from intellectual meet-ups and keynote speakers to hammock races and bollywood dancing. Sorry, ALL 3000 TICKETS are completely sold out, but that what happens when there are enough people who share your passions. (Note: I’m honored to be one of the keynote speakers for 2013.)

Here is Chris at last year’s WDS introducing a panel to discuss The $100 Startup and their own microbusinesses.

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Special thanks to our sponsors who help make this show possible – please follow them and let them know you appreciate the free content. #Respect.

Many of us have …ahem…fantasies about shutting down the laptop and closing up the studio for an extended period to go try something different. Pick up horseback riding. Learn a new language. Fly a plane. We all know our creative souls need it, but making the move is frightening. A couple months ago my writer friend Ben dropped in to share his thoughts on strategic renewal and scheduling breaks throughout the work day. His post about doing more by doing less was a hit with many of you. Well he’s back, and he’s talking about breaks again. Big breaks. Weeks, months, even…um…a year. Read on to find out how a sabbatical may help you keep that love feeling fresh. Take it away, Ben.

Thanks, Chase.

My second love is soccer. I play it, I coach it and I follow it. (And for those of you who didn’t know it, Chase went to college on a soccer scholarship and loves the game too…) As a US citizen, I am a passionate supporter of the US National Team, which is currently in the middle of qualifications for the 2014 World Cup. Anyone who gives a damn about US soccer will know the name Landon Donovan. Easily one of our nation’s best players ever, Landon announced last December that he was taking a 4-month break from the sport following the title-winning Championship match for his MLS club team, the LA Galaxy.

In the middle of World Cup Qualifiers and at the top of his game, our nation’s best player decides to take a sabbatical. “What the F?” said half the US soccer nation, instantly polarized. On the one side were the haters who called the act the epitome of selfishness and narcism. On the other, less-populated side were those who got it. Dude needed a break. He’s burnt out. He’s been the poster boy of the entire sport in the States for as long as he’s been representing the country on the field. Let him surf. Or snorkel. Or learn tennis. Or whatever it is he needs to do.

I thought about this for another hot minute. My Father is a professor at a University. I learned the meaning of the word “passion” by watching him devote his life to his students and to his discipline. But I don’t remember anyone calling him “passionless” for taking a sabbatical. So given Donovan’s moves, learning from my Dad, and some conversation with Chase, I’ve asked the “when do you know you need a break?” question. This is not the definitive list, but it’s a start to some answers:

_All your work starts to look the same
_You dread getting out of bed in the morning [not just once in a while, but routinely]
_You haven’t had an original, “eureka”-moment idea in weeks
_You spend a good portion of your waking day fantasizing about travel, learning a new skill or craft, or marking a bucket list item off the list
_You truthfully answer “nothing much” to the frequently-asked question “what have you been up to lately?”
_You feel like your passion for something is waning
_The things in your routine that used to be easy and fun seem hard and annoying

But don’t feel like you’re alone in these feelings or “getting soft”. History is full of amazing creatives who take time off… Up high on the list are:

Daniel Day-Lewis. Master of the Sabbatical. Photo from Wikipedia.

Daniel Day-Lewis — arguable the greatest actor of our time — routinely takes breaks for as long as 5 years between his [award-winning] roles. In fact, it’s been rumored that he is planning another 5 year break to focus on family and learning “rural skills” like stonemasonry. Director Terrence Malick famously took a 20-year sabbatical between the critically-acclaimed “Badlands” (1978) and the thought-provoking “Thin Red Line” (1998).

Alternatively, check out this TED talk below by renowned NYC designer Stefan Sagmeister, who closes his studio doors once every seven years to take a full year extended break from work.

And then there are some companies that support this…. Greeting card giant Hallmark — which employs a staff of over 700 writers, illustrators and designers — owns a 180,000 square foot “innovation facility” where staff can pursue myriad artistic endeavors, from stitching and woodworking to ceramics and leather tooling. Hallmark’s renewal program sends employees to the innovation facility for up to four months at a time to learn a new skill or craft and get a much needed break from the computer screen. The company also owns a farmhouse retreat on 172 acres, which it uses for similar employee getaway purposes. This sort of forced creative renewal keeps workers inspired and prevents burn-out and creative drought.

Not all employers are as cool as Hallmark. And we’re not all university professors who get a year off every 7. Some of you are wondering how you can afford to take extended time off from your work. If you are currently ‘stuck’ in a corporate job and looking for a way to take a strategic job pause without losing your job, take a look at YourSabbatical.com. The company helps employees put together convincing proposals to negotiate a career break with the bosses. If you’re short on ideas for ways to spend your sabbatical, the site put together a top 100 list. Some of the gems include:

_Circuit Iceland by car
_Tackle Kilimanjaro [Chase would attest to this being a having climbed Kili in January]
_Travel without an itinerary
_Trap and track puma in Argentina’s pampas grass
_Raft the Zambezi with your dad
…and you get the picture…

The company draws an important distinction between a vacation and a sabbatical. The former, for example, is often not goal-oriented and pays little mind to enhancing one’s life or career. The sabbatical, on the other hand, is designed to restore creative juices, enable the attainment of personal goals and achieve greater career success.

It’s a daunting step to take. Unknowns and what-ifs abound. Great security probably lays with the status quo. But status quo is creeping death to the creative. So take a moment and ask yourself if you’re creative side would benefit from a planned sabbatical. Then start planning.

You know I love film. Just shot my Polaroid 600E yesterday and loved it. Shot the Hassie the week before, and just loaded a roll into my Lomo ‘Sardine’. That said, seeing that damn near everything has (obviously and justly) gone digital, film cameras are dirt cheap. And whether you’re a seasoned pro or an iphone snapper, a good dose of shooting actual film would be good for you. Trust me on this. So that’s why I’ve taken the time to wrangle five great cameras for under $300 that you can use to re-invigorate your film shooting, even if it’s just for a little flirt with nostalgia. … (and I know that there are a lot of sweet cameras OVER $300…i’ve listed a few of my fav’s in the comments. Please share yours there too….)

Canonet QL17 GIII. Image courtesy Wikipedia

This camera, in its heyday, was known as the “poor man’s Leica,” and with darned good reason. The fixed 40mm f/1.7 lens is sharp as all heck, producing images that, with the right film, will produce incredibly crisp negatives. My go-to setup has a 58mm step-down ring on the lens to accomodate a modern Canon lens cap (which is important as these old cameras don’t usually include a lens cap).

The nice thing here? The metering system still works on most copies you can buy today; all you need is a 1.35v battery (Wein Cell makes a nice replacement for the old mercury batts) and you’re good to go. You can shoot in shutter-priority only, and since the metering sensor sits directly above the lens and inside the filter ring, it compensates for ND filters if you use one.

The best part, though, is the price. Depending on condition, the QL17 GIII can be had for between $75 and $150. Mine cost $110, and is in excellent condition. Make sure you check the seals on the unit you’re buying, however, as these wear out easily and can cause light leaks (but are also easily replaced).

Nikon F3

Nikon F3 with HP viewfinder. Image courtesy Wikipedia.

Though Canon, Nikon, Pentax, and other manufacturers made excellent SLRs, I like the Nikon F#-series of cameras as, in most cases, they have the most flexible lens mounts. This camera will take just about any Nikon lens made in the last several decades (with the notable exception of “G” lenses, which have no manual aperture ring). Plus it doubles as a hammer or a weapon if you’re in need. These things are tougher than dirt.

The F3 is a manual-focus camera, but has a metering system and allows for aperture-priority metering. It uses 2 SR44 button cells for power, which are easily available. Stick a 50mm f/1.8 lens on this puppy and you’ll be good to go.

Medium-Format

Cameras in this category used to cost thousands of dollars — and still do, in some cases. But don’t let that dissuade you from experiencing the joy of holding a 4.5×6 — or larger — negative. Here are two cameras that will let you shoot those big, fat, negatives for an affordable price.

Mamiya C33 TLR

Mamiya C33 Professional. Image courtesy Rémi Kaupp/Wikipedia.

Though its younger sibling, the C330, gets all the attention among Twin Lens Reflex camera afficionados, the C33 is actually a very, very respectable body. Mine has travelled thousands of miles with me as I trek all over the state of California, and has helped me make some of my favorite images.

It’s also generally cheaper than the C330 (or the more famous Rolleiflex TLR), and has something pretty cool for TLR cameras – the ability to swap lenses. From the wonderfully sharp 80mm f/2.8 that sits on my camera, to a somewhat comically long 250mm f/6.3, these lenses are usually available for around $200.

Info:http://en.wikipedia.org/wiki/Mamiya_CPrice: About $200–300 depending on condition.Where to Buy: KEH.com had one until just recently for just under $300. Between the lens and camera, expect to spend around that. Mine was an eBay purchase for $187.

Mamiya 645 1000s

Mamiya 645. Image courtesy Wikipedia.

I know – two Mamiya’s in one article – it’s a bit lopsided. Gotta love Hassies, but Mamiya tends to deliver some pretty outstanding quality for the price, and the 645 1000s is no exception. It was built to be used with the ease of a 35mm SLR, and renders a negative 6cm X 4.5cm (hence the 645 moniker). You’ll need to buy three separate pieces for it – the main body, a viewfinder, and a lens. All in all, you can come in with all three for about $250.

The Mamiya 645 is set to take 120-size medium format film, which is the most common form sold today. Top it off with an AE prism (the viewfinder) with a built-in meter and you get aperture-priority operation, with a center-weighted pattern. Using one of these outfits, my friend Andrew Kim has done some outstanding street photography.

Bronica ETR-S

Bronica’s ETRS will look somewhat familiar to Hasselblad owners, in that it’s a simple, modular box. I call this the Hassie Hack. Throw on a viewfinder, lens, and back, and you have a complete system for under $300, depending on condition.

Bronica ETR-Si system. Image courtesy Wikipedia.

Introduced in 1979, the ETR-S will shoot 6×4.5cm film with a standard back, but you can also swap that back out to shoot standard 35 and panoramic 135-format film as well. There’s a wide variety of lenses available for it, both fixed-focal length and a few zooms as well – a rarity at this price range.

These are just five of the many options you have when considering a return (or a first-time visit) to the world of film cameras. What are your favorites? Sound off in the comments – you’ll see some more of my favorites there…

As any regular Redditor knows, the internet is made of cats. They’ve been with us since the days of the Egyptians – although nowadays they have their own reality shows. What is it with these damn cats? As the collection of images below indicates, cats have played the role of creative muses in the lives of some pretty famous creatives, including Dali, Picasso and Warhol. [Warhol, it should be noted, once owned 25 cats, all of which he named Sam.]

Might the kitty companion be a key to unlocking the creative mind? I’ll posit that any loyal pet provides, at a minimum, a set of ears to bounce ideas off of and a second set of eyes to look upon your work-in-progress. Sure, feedback may be at a minimum, but at least you’ll be spared harsh criticism. [worth noting - there is a growing body of scientific evidence which shows that hanging out with a contented, purring cat can actually lower a human's high blood pressure, decrease stress, increase self-confidence and reduce feelings of loneliness and isolation. So there you go.]

Have a quick gander at some photos of famous creatives with their cats. Share your dorky cat stories if you’re so inspired . You may or may not be judged (but I will confess that Chris G and I swapped cat stories and photos last night at dinner, so you’ll be ok in my nerdy book….

Update: We are TODAY with renowned author, world traveler and all-around inspiration Chris Guillebeau. My dinner with Chris last night was electrifying and foreshadowed today’s show which promises to deliver the goods on how Chris has accomplished more in his 35 years than most do in a lifetime. Head over to the live page to tune in.

Prepare to have that lightbulb moment for yourself while watching the next episode of chasejarvisLIVE on Wednesday, May 22 becuase my guest is the globe trotting, “self employed for life” hacker Chris Guillebeau. In addition to being all those things plus the founder of the World Domination Summit (most amazing name ever for a creative conference…) he is a best-selling author of The $100 Startup as well as The Art of Non-Comformity. And if all that ain’t enough – just this past April he accomplished a goal that no one in the history of time has done… visit every country in the world by age 35. [a few dignitaries have done it, but nobody of Chris' ripe age has ever pulled it off]. For a decade Chris has been championing a lifestyle that beautifully aligned with my approach. It goes something like this:

_Stop living the life others expect you to – and start living your own
_Create a life where your time is spent doing things you want to do (it sounds harder than it is, doesn’t take a lot of money, and you already have the skills you need)
_Live a remarkable life in a conventional world
_This is all closer than you really think possible – once you get over the things that scare you

If any of this stuff resonates, then I’d better see you on Wednesday. Over the years, through his remarkable books and friendship, Chris has given me an insane amount of clarity and some hefty doses of inspiration. Take your life back.

In addition to traveling and writing, Chris founded and organizes the World Domination Summit, an annual gathering of creatives held in Portland Oregon that runs the gamut from intellectual meet-ups and keynote speakers to hammock races and bollywood dancing. Sorry, ALL 3000 TICKETS are completely sold out, but that what happens when there are enough people who share your passions. (Note: I’m honored to be one of the keynote speakers for 2013.) Oh wait, what’s that?? Read the note below – we’re giving away a ticket $500 to one lucky soul to join Chris and I at the the WDS !! And what the hell…I’ll throw in free airfare to Portland too. DETAILS BELOW!

BONUS: This always goes fast. The first 30 people to email production@chasejarvis.com will be eligible to part of our in-studio audience (you +1 guest) at my seattle studio. You’ll get to watch the show in person, meet Chris and some other lovelies and probably drink some mediocre champagne with us. You will receive an email confirmation if you’re one of the first 20.

HELP US PROMOTE THE SHOW AND WIN STUFF.

This is BIG my friends… – For a chance to win a ticket to Chris’ World Domination Summit – the 100% sold out summit I mentioned earlier. I’ll see the winner there with Chris. We’ll all high five. To win, send out a creative tweet promoting the show with #cjLIVE + @chrisguillebeau + the short link to this page http://bit.ly/18NM7cF included..

DURING THE SHOW we’ll be giving away signed copies of Chris Guillebeau’s books The $100 Startup and The Art of Non-Conformity. Tune in to find out more.